Bright Stars
Misty Copeland makes an observation. “I see,” she says, looking into the audience packed with attendees in formalwear, “a lot of people who care about ballet.”
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"Fjord Review serves as an indispensable resource for the world of dance. Contributors offer well written and researched comment on what everyone's talking about - and what we might have missed. Unexpected humor and honest candor can be found in every article, and the photography and art direction elevate dance to the place of reverence and relevance it deserves. Bravo, Fjord."
Peter Boal
Artistic Director, Pacific Northwest Ballet
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Strings Section
Chamber music can be fun, too! That, at least, is the apparent message that violinist Johnny Gandelsman is trying to spread in his two-hour program, “Johnny Loves Johann.” He’s certainly not wrong.
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For Old Times’ Sake
What makes a story stick across not just decades, but millennia? The longevity of ancient Greek drama points to an innate essentiality, but the variations of these works, too, have played a critical role in its durability.
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Stepping on the Right Path
“We are in a shambles.” This is the headline statement for Catherine Young’s touring work “Ciseach | An Embodied Manifesto” which will make its way through Ireland at a time when it is perhaps needed most.
Continue ReadingDouble Happiness
Five years ago Oakland Ballet launched its Dancing Moons Festival as a way to highlight Asian American and Pacific Islander choreographers in response to the surge of anti-AAPI hate during...
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Healing Together
Gibney Company’s season at the Joyce Theater was full of common threads, promising beginnings, and lingering energy.
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Steps in the Street
It seems fitting that as the world held its collective breath over violent threats from the US White House, the Martha Graham Dance Company would perform “Chronicle,” an anti-war statement from 1936, as the centerpiece for the opening of its New York City Center season.
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Ballet in the City with Joshua Beamish
Perhaps best known for touring with New York City Ballet associate artistic director Wendy Whelan in her show “Restless Creature,” Joshua Beamish grew up dancing in his Canadian hometown of Kelowna, British Columbia, founding his own company when he was just 17.
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Emotionality Unbound
Ballet Unbound” was a diverse mixed repertory program that landed squarely in Ohio Contemporary Ballet’s sweet spot as a company presenting classical modern dance, and neo-classical and contemporary ballet works.
Continue ReadingToward a More Perfect Union
It is a strange time to be celebrating our nation’s milestone birthday, our semiquincentennial.
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Everything Under Control
It’s hard to predict where Hubbard Street Dance Chicago will go next. Literally. Through the repertoire selections presented in the company’s two-week run at the Joyce Theater, the dancers demonstrate a particular aptitude for moving in a way that’s endlessly surprising.
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A Grimm Tale
“The Juniper Tree” is a macabre fairy tale involving three feminine archetypes: mother, stepmother, daughter.
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Rewind
La Scala Theatre’s ballet season featured a programme offering a snapshot of European choreography from 25 years ago.
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Meryl Tankard, Staying Connected
Meryl Tankard is somewhat of an Aussie dance legend. A choreographer of international renown, her works have been mounted and premiered on prestigious companies ranging from Royal Ballet of Flanders and NDT III in Europe, to the Australian Ballet and Sydney Dance Company in her homeland.
Continue ReadingMoondance
The Mark Morris Dance Group, now celebrating its 45th anniversary, visited the Brooklyn Academy of Music for a quick late-March run with two topical dances that were new to New...
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Simply Red
Do ballet trends bubble up cyclically, or did artistic directors collude to engineer this year’s “Firebird” mania? Suddenly this spring, the flaring-eyed creature immortalized in Stravinsky’s 1910 score is headlining programs at American Ballet Theatre, New York City Ballet, and Dance Theatre of Harlem, almost all at once.
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Theatre-going
“Empreintes” featuring two new creations by Jess & Morgs and Marcos Morau, reads as a choreographic response to Walter Benjamin’s reflections on the work of art in the age of mechanical reproduction.
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Objects of Desire
Maurice Béjart would surely have been delighted to see La Seine Musicale’s vast Grande Salle, that striking structure seemingly floating on the river above the Île Seguin, filled for all six March performances of his company’s tour.
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Street to Stage
Penn Live Arts presented Rennie Harris’s “Losing My Religion” last week as part of its America Unfinished Series, marking the country’s semiquincentennial.
Continue ReadingMotherhood
Motherhood has often been idealized as the ultimate fulfillment of being a woman. In fact, in many cultures, motherhood is still understood as a woman's basic mission and an inseparable...
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